'The mezzo Lucia Cervoni had sung Octavian with Theater Magdeburg and her she sang with the added authority of that experience; she succeeded moreover in sustaining her full tone throughout and managed a mannish swagger...And because it’s the sublime Trio that somehow in the end defines the quality of any Rosenkavalier performance - at Strauss’s own request‚ it was the definitive statement at his funeral - it is good to report that the combination of Evans‚ Cervoni and Alder blended wonderfully. '

Der Rosenkavalier‚ Welsh National OperaOpera Magazine (July 2017)

'Lucia Cervoni’s Octavian is naïve and impetuous but genuinely devoted; her mezzo is wonderfully firm and clean‚ full of youthful freshness. Handsome in a red-trimmed grey frock‚ Octavian bursts with an adolescent swagger - collar turned up‚ sword stabbing the floor between his legs - which is softened by Cervoni’s warm lyricism.'

Der Rosenkavalier‚ Welsh National OperaBachTrack.com (June 2017)

'Canadian mezzo Lucia Cervoni (dressed in Act II as a knight in shining armour) impressed as her impulsive young lover Octavian‚ and Louise Alder‚ as the innocent Sophie to whom Octavian is eventually betrothed‚ brought vitality and sparkling tones. Their combined singing for the closing trio truly showed off their collective talent‚ with ensemble and intonation second to none. '

Der Rosenkavalier‚ Welsh National OperaCritics Circle (June 2017)

'The trio of sopranos – Evans and Louise Alder (Sophie) with mezzo Cervoni – pulled out all the stops: what a team. Evans disappears for much of the show‚ but still managed to dominate proceedings. Cervoni started good and got better in the trouser-role that turns into a frock-and-pinny one before re-breeching‚ if you see what I mean. Her scordatura ‘Mariandel’ went down a treat.'

Der Rosenkavalier‚ Welsh National OperaMarkRonan.com (June 2017)

'As Octavian her lover‚ Canadian mezzo Lucia Cervoni sang superbly while exhibiting the natural persona of a young man...'

Der Rosenkavalier‚ Welsh National OperaOpera Today (June 2017)

'The Canadian mezzo-soprano Lucia Cervoni (a principal at Theater Magdeburg) made a nicely touchy Octavian‚ not a little self-obsessed and very much on his dignity. Cervoni very successfully showed the way the young man struggled both with the Marschallin’s philosophising in Act One‚ and with the sudden rush off young love in Act Two‚ bringing out the sense of youthful impulsiveness. This is an opera very much defined by its relationships; Evans‚ Cervoni and Alder really established the sense of the different pulls in this triangle‚ so that when all three characters met for the first time at the end of Act Three we got a strong sense of the different tensions‚ with many pregnant pauses. Cervoni was successfully able to lighten her voice in the upper register so that the three women blended beautifully for a radiant final trio and duet.'

Der Rosenkavalier‚ Welsh National OperaSeen and Heard International (June 2017)

'As Octavian‚ initially the youthful lover of the Marschallin and ultimately betrothed to Sophie‚ the Canadian mezzo Lucia Cervoni (making her company debut) was impressive‚ secure in tone and pitch and with a sufficient range of vocal colour to convince (within the conventions of the form) both as a young man being a young man and as a young man pretending to be a young girl.'

Der Rosenkavalier‚ Welsh National OperaThe Arts Desk (June 2017)

'Lucia Cervoni’s Octavian‚ similarly‚ is strong on style‚ with lovely warm colourings in every register...'

Der Rosenkavalier‚ Welsh National OperaThe Sunday Times (June 2017)

'Evans heads a trio of Rosenkavalier sopranos of quite special eloquence‚ though‚ as usual these days‚ the soprano role of Octavian is sung by a mezzo‚ the Canadian Lucia Cervoni‚ who ought to be better known here. This was my sixth Rosenkavalier this season‚ and I can’t think of one in which the female trio was more evenly balanced‚ or blended as well in the many duets and trios.'

Der Rosenkavalier‚ Welsh National OperaThe Times (June 2017)

'...while Lucia Cervoni’s Octavian brimmed with youthful passion.
'

Der Rosenkavalier‚ Welsh National OperaWhat’s On Stage (June 2017)

'The Canadian Lucia Cervoni sang the great trouser role of Octavian with tonal beauty and an impressive palette of mezzo colours‚ and she allied these to an irresistible physical performance‚ both funny and endearing‚ as the loved-up teenage aristo...
Small wonder‚ then‚ that Hanus and the three women delivered a final trio of searing‚ aching beauty. '

'The three singers are extremely well chosen. Mezzo-soprano Lucia Cervoni‚ a Canadian with a career in Germany where she sings a broad repertory‚ is obviously an accomplished total performer'

Julie‚ Canadian StageMooney on Theatre.com (November 2015)

'Julie is made up of three stunning Canadian opera performers — Cervoni‚ Frazer‚ and Joynt — whose voices were delightful throughout the show'

Julie‚ Canadian StageMusical Toronto (November 2015)

'As Julie‚ mezzo Lucia Cervoni‚ American trained and European based‚ made an auspicious Canadian debut. Her rich‚ dark-hued mezzo and alluring stage presence gives the character a knowing‚ world-weary air. Her Julie is an anti-heroine‚ not very sympathetic‚ but then there aren’t any lovable characters in this piece!'

Julie‚ Canadian StagePlay Anon (November 2015)

'The titular heroine (or perhaps anti-heroine is more appropriate)‚ passionately performed by Canadian mezzo-soprano Lucia Cervoni...Others‚ possibly‚ were so taken with Cervoni’s passionate portrayal of the character‚ in all her dazzling contrasts — sexual power‚ timid girlishness‚ haughty snobbery‚ begging desperation‚ loudmouth demands‚ soft admissions — that it seemed a pity to lose her'

Julie‚ Canadian StageStage Door (November 2015)

'Toronto-born mezzo-soprano Lucia Cervoni‚ whose career has burgeoned in Europe‚ made her first Toronto appearance to enthusiastic acclaim. The clarity‚ depth and heft of her voice along with the fine acting skills that would make her an ideal Carmen also makes her ideal as the would-be Carmen that is Boesmans’ Julie. Cervoni skilfully exchanges the arrogant bright tones of the pre-liaison Julie for the duller‚ more anguished tones of her post-liaison self'

Julie‚ Canadian StageThe Globe & Mail (November 2015)

'Vocally‚ all three performers sang well. Lucia Cervoni‚ a Canadian soprano singing for the first time in Canada‚ has a fine‚ rich voice to bring to Julie’s character'

'Mezzo-soprano Lucia Cervoni‚ as Pompey’s widow‚ and mezzo-soprano Aurhelia Varak in the pants role of her son‚ Sextus‚ were passionate and intense'

Giulio Cesare‚ Glimmerglass OperaGay City News (July 2008)

'Leading the supporting cast were Canadian mezzo-soprano Lucia Cervoni as the widowed Cornelia...Cervoni‚ a member of the Young American Artists ensemble‚ was lovely to listen to‚ with a contralto colored tone that never became lugubrious but also was glamorously beautiful to behold‚ making the widow of Pompey a totally convincing object of Achilla’s and Tolomeo’s lust'

Giulio Cesare‚ Glimmerglass OperaIthaca Journal (July 2008)

'In the role of Cornelia‚ Pompeo’s widow‚ Lucia Cervoni sang her grief-stricken aria “Priva son d’ogni conforto” in Caesar’s tent with touching phrasing. Her duet with the fine Sesto of Aurhelia Varak was performed with a powerful blend of both mezzo voices'

Giulio Cesare‚ Glimmerglass OperaIthaca Times (July 2008)

'As Cornelia‚ mezzo-soprano Lucia Cervoni‚ from the company’s Young American Artists program‚ captured the grief and indignant resistance of a woman under attack with a rich and clean vocal sound. (And she managed her tailored clothing and very high heels extremely well.) The mother and son duet at the end of the first act is among the most poignant in all opera; their performance was deeply moving‚ and left very few dry eyes in the house'

Giulio Cesare‚ Glimmerglass OperaNew York Times (July 2008)

'Lucia Cervoni‚ a mezzo-soprano‚ sang well as Cornelia'

Giulio Cesare‚ Glimmerglass OperaOneida Dispatch (July 2008)

'Cervoni achieved beautifully rich‚ dark tones in the aria "Priva son dogni conforto" as the beleagured beauty‚ with her sexuality and peril heightened by Berry’s black dresses'

Giulio Cesare‚ Glimmerglass OperaThe Post Standard (July 2008)

'Another winning portrait is that of Lucia Cervoni as Cornelia‚ widow of Pompey‚ a grieving‚ endangered and‚ later‚ a take-charge figure'

The Trinity‚ Santa Fe OperaFree New Mexican (April 2007)

'Lucia Cervoni brought a rich mezzo-soprano and warm sympathy to the older Tessa'

'In the role of Carmen is the lovely and alluring Lucia Cervoni‚ a mezzo-soprano proclaiming‚ "If I love you‚ my friend‚ beware." ...Don José falls for Carmen almost immediately. This part of the theme – the men who fall so easily in love with Carmen – is perhaps the most believable part of the story‚ as Cervoni herself is quite captivating with her dark eyes and impressive command of the many subtleties we found in her playful smile'